interest is more subtle. The authors have delved deep, essaying to reveal as it were the very psychology of the inanimate, and to suggest some kind of soul life as existing in the bodies of mere marionettes. So, all those scenes which take place in the big box-like rooms behind the showman's tent, where the dolls are put away, are marked by an atmosphere of emotion as poignant as it is unreal. And they are full, too, of a strange subhuman beauty.
Now, it is Nijinsky's part to portray the dead mechanism of a doll, quickened to feverish life by jealousy. The beautiful lady-doll, you see, has bestowed her favours on a lusty blackamoor. What then can poor Pétrouchka do? He is weak, a sort of puppet Pierrot. So there's nothing left for him but to try and emulate his rival's fascination. And this
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